Speaking about her collaboration with Dieckmann, Van Etten said: “I had been looking forward to collaborating with Katherine again since finishing our work together on her film in 2016.

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“Since wrapping the film, she has not only been a guiding force in my work, but a light and guiding force in my life as well, sharing with me stories of how she and her husband made it work with two kids as artists living in New York and encouraging me to return to my music after my son was born.”

She continued: “I asked if she would ever want to make a music video for me. She asked what the mood would feel like and I simply said ‘apocalyptic mom.’ And with that – she said ‘Absolutely.’ That’s why I love her so much.”

Speaking about the video, Dieckmann said: “Getting to make a video for ‘Jupiter 4’ was such a gift that Sharon gave to me. The song is a fever dream, a spell cast in the name of obsession. I was hypnotized by it when I first heard it, and have never stopped being hypnotized by it – and by now I have probably heard it over a hundred times, maybe more.

“The trick was to figure out how to match the power of the song with visuals that could serve its ideas without spelling any of them out. I decided right away to work in an inky black-and-white palette and use raw elements (water, fire, earth, mist, dirt, summertime’s lush meadows and blooms) as a natural support for Sharon, and shoot her as a strong sculptural presence in space, to accompany the deeply immersive quality of the track.”

She added: “It was a magical shoot… one meant to honor ‘Jupiter 4’’s combination of brooding ambiance with searing declarations of passion. I still have to ask myself, is the love ‘so real,’ or is it actually unreal? The beauty of the song, and hopefully of the video too, is that it lets that mystery be.”

Following on from 2014’s acclaimed ‘Are We There’, Van Etten’s upcoming fifth album is a synth-driven sonic departure that she insists she “didn’t want to be pretty”. The record was written while the singer-songwriter was pregnant, going to school for psychology, and amid her work appearing in The OA audition and onstage in David Lynch’s revival of Twin Peaks.

Speaking to NME about the sound of the album, Van Etten said: “While writing a lot of this, I was tired of the guitar and felt like I was writing a lot of the same songs. I moved into a practice space with someone who had a couple of keyboards and a synthesiser.

“A lot of the songs were written on a synth or a ‘70s Korg organ while tracking drums to it. It’s a lot darker and there are more beats. It’s not as acoustic driven and the songs are more uptempo. It’ll definitely be a bigger and darker sound, and a lot more electronic-feeling.”